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Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents a history and stylistic analysis of the avant-garde furnished apartment-studio of the Italian Futurist Giacomo Balla (1871-1958), commonly known as Casa Balla. The decor and the painterly interior design of the flat portray the utopian premise of 1920s Futurism, which aimed at a modern synthesis of the arts and their complete integration into reality, in an intimate way. The author of the essay describes the current state of the "Balla House", which, after many years of oblivion, has been restored and opened to the public in a new arrangement in 2021. [ABSTRACT FROM AUTHOR]

Review: Marta Rakoczy Władza liter. Polskie procesy modernizacyjne a awangarda (The Power of Letters: Polish Modernization Processes and the Avant-Garde), Krakow: Wydawnictwo Uniwersytetu Jagiellońskiego, 2022. [ABSTRACT FROM AUTHOR]

Copyright of Przegląd Socjologii Jakościowej is the property of Redakcja Przegladu Socjologii Jakosciowej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The subject of the article is to investigate the influence of futuristic architectural concepts on the work of the Russian cubofuturist Velimir Khlebnikov. The theme of the presence in the poet's formal poetry of elements convergent with an organic tendency in design and architecture, developed in the circles of Russian constructivists, is of particular importance here. The research material consists of both poetic and journalistic-prose texts, in which the author directly refers not only to urban architecture, but also shows a deep understanding of the essence of the phenomena of the city and home. The research showed the relationship between the form of the text and its semantic potential in imaging urban space. The work in its empirical part is focused on theoretical and literary research, with particular emphasis on the analysis of versification patterns of poems. [ABSTRACT FROM AUTHOR]

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reconstructs the fate of the F24 formula, usually understood as the title of the Almanach Nowej Sztuki (Almanac of New Art) from 1924 and usually developed as “Futurism 1924.” However, this interpretation is challenged by the fact that the “F.24” formula also appears in the title of the lost manifestos of Jerzy Jankowski, created no later than 1919, recorded in “Tram wpopszek ulicy” (Tram Crosswise the Street). The article presents the results of research on the earliest stage of Polish Futurism, based on archival materials and including the discovered memoirs of Jankowski’s sister, Janina Jankowska-Orynżyna, which shed new light on the nature of the lost manifestos and the “proclamations” delivered by Jankowski at the Futurist club. In light of the latter, F24 can be read differently than before, as a surprising and exceptionally capacious formula of (Polish) Futurism. [ABSTRACT FROM AUTHOR]

Both painter and designer Aleksandra Ekster and filmmaker Dziga Vertov were born at the end of the 19th century in Białystok. They developed their artistic activity in what is now Ukraine, later in St. Petersburg and Moscow, and Ekster also in the West. Art historians see them primarily as Soviet/Russian artists, while few consider their work against a more expansive background, based in part on the inspiration from Ukrainian and Polish cultures. The text takes into consideration this particular context, presenting the successive stages in the lives of both artists. There is no doubt that ties with Poland and inspiration from art created by Poles were important for both Ekster and Vertov. [ABSTRACT FROM AUTHOR]

By the 1920s the Russian avant-garde was played out, various branches of the artistic movement achieved a balance of power, and leading organizations shifted in favour of the ideological and utopian recipes imposed by the Soviet state. In this monopolizing Soviet cultural context, the group OBĖRIU appeared, reconstituting remnants of the avant-garde and anticipating the modern European poetics of the absurd and surrealism. The first part of the study analyzes the OBĖRIU manifesto and its most important concepts: ‘real art’, ‘the artistic word’, and ‘the artistic object’, and relates them to the literature of the absurd as well as some elements related to the surrealist vision. The second part demonstrates, first, to what degree OBĖRIU principles are recognizable in the work of Daniil Kharms, the founder of the group, and second, to what degree the concept of ‘the artistic object’ in the theory and practice of Kharms reflects a dimension of the art of the absurd, which appears toward the end of the 1920s within the context of the semiotic experiments of the late Russian avant-garde.

This article explores various text coding strategies in the work of Polish Futurists. Drawing on the concept of Jerome J. McGann's bibliographic code, this analysis of the fonts, layout and typographic devices used in their texts reveals a development culminating in literary breakthrough at the beginning of the interwar period. It shows, moreover, that the Futurist revolutionists depended heavily on the material and manufacturing base which they wanted to overthrow and replace. That dependence manifests itself in the incongruous adoption of various traditional fonts, typographic and graphic designs, which remains the most striking characteristic of a Futuristic text. [ABSTRACT FROM AUTHOR]

This article looks at Brunon Jasieński's revolutionary novel I burn Paris (Je brûle Paris) in the context of the key ideas of Marxist philosophy and that strand of its contemporary reception which saw in it a blend of agitprop and apocalyptic fiction. A close reading of I burn Paris reveals that its author is anything but an orthodox Marxist and his Marxism is open to all kinds of alterations and ideological variants. The article, inspired by Peter Sloterdijk's discussion of ressentiment, argues that the best way to make sense of those disparities is to treat them not as deviations but as an attempt to converge the ideological vision and the thymos (in the sense given to it by Francis Fukuyama in The End of History and the Last Man); or, in other words, an attempt at tapping and channeling the accumulated rage of the masses to energize the Communist project. [ABSTRACT FROM AUTHOR]

Regarded primarily as a scandalist, Bruno Jasieński is also an innovator and 'theoretician' of the avant-garde. Then, so the argument, he converted to Communism and put his pen in the service of that ideology. He paid for it with the price of debasing his talent to the level of a socialist realist hack and, eventually, the price of his life when the regime he so avidly supported turned on him in the great purges of 1937-38. This article takes issue with the claim - which is part of the generally accepted narrative - that Jasieński 'swerved gently to the left' in 1923-1925. This article analyses the politics of young Bruno Jasieński's verse, i.e. the texts produced before 1921, the year of the publication of the first collection of his poems. In so far as his early poetic work contains nothing but praise of the Russian revolution and its ethos, his ideological evolution in the nineteen twenties should termed radicalization rather than a shift to the left. [ABSTRACT FROM AUTHOR]

This article is an attempt at interpreting the experimental verse of two Warsaw Futurists, Aleksander Wat's namopaniki and Anatol Stern's romans Peru [A romance of Peru]. A series of analyses, conducted from the perspective of the materiality of language, indicates that the key to the generic status of Wat's verse is to be sought in the concept of metamorphism. Indeed, his namopaniki are best described as metamorphic poems in which the dynamic of transformation gets the better of both their linguistic material and their presumptive subjects. By associating the linguistic experiments of the two Warsaw Futurists, who came from Jewish families, with the situation of 'being a stranger to one's language' (Deleuze and Guattari) and Jacques Derrida's chafing at monolingualism, the article argues that Wat's and Stern's early poetic practice represents a turn to 'minority art', i.e. a form of discourse subversive of the dominant hierarchies of the 'majority' language and literature. Furthermore, the Deleuzian concept of minor literature (littérature mineure) may be used to seek a finer differentiation between the Warsaw Futurist avant-garde and the East or West European models of Futurism and Dadaism. [ABSTRACT FROM AUTHOR]

This article explores various text coding strategies in the work of Polish Futurists. Drawing on the concept of Jerome J. McGann's bibliographic code, this analysis of the fonts, layout and typographic devices used in their texts reveals a development culminating in literary breakthrough at the beginning of the interwar period. It shows, moreover, that the Futurist revolutionists depended heavily on the material and manufacturing base which they wanted to overthrow and replace. That dependence manifests itself in the incongruous adoption of various traditional fonts, typographic and graphic designs, which remains the most striking characteristic of a Futuristic text. [ABSTRACT FROM AUTHOR]

The article offers amultifaceted interpretation of two of the most important manifestos of Polish futurism written by Bruno Jasieński, published in 1921. The paradoxes and aporias of this program boil down to contradictory conceptualizations of time (history, tradition, progress), accompanied by unsettled affects (from euphoria tomelancholy) and attitudes (from radical egalitarianism to lofty elitism). Franczak examines this tangled network of issues in the context of Marxism as the most important emancipatory discourse of modernity and in the light of modern avant-garde theory and philosophy of art. The manifestos themselves are treated as traces, textual derivatives of the process of programming art and life. [ABSTRACT FROM AUTHOR]

Gorliński-Kucik explores cyberpunk in Polish literature in the context of the genre’s key features, namely a language that is critical of technological modernity and ‘technorebellious,’ utopian laboratories of the social imagination. These had already appeared in the manifestos and poems of Polish futurists and the avant-garde. The genre of sociological fantasy, meanwhile, which developed at the same time as cyberpunk, focuses on the problem of power as such (or the subjectivised technology of governance) rather than with the relationship between humans and technology. Given modern Poland’s specific history and its current functioning in a globalised postmodernity, ‘cyberpunk in Poland’ is a more fitting concept than ‘Polish cyberpunk’. Consequently, Polish society lacks a language that is critical of technological modernity. [ABSTRACT FROM AUTHOR]

Wójtowicz analyses Stanisław Grędziński’s literary and journalistic work to discuss the relationship between radical modernist art and the politics of the interwar era. The focus is on the transition from the futurist discourse to an imperialist discourse. Wójtowicz demonstrates how Grędziński’s futurist rhetorics became enmeshed with the imperialist project with its relativist historical politics, an instrumentalisation of Catholicism, the militarisation of exercise and pedagogy, biopolitical practices as well as the slogan of cultural expansion. [ABSTRACT FROM AUTHOR]

Bielak responds to Beata Śniecikowska’s article “TAK odnalezione: Pierwsze czytanie pierwszej jednodniówki polskich futurystów” ([TAK Found Again! A First Reading of the Polish Futurists’ First Pamphlet] Teksty Drugie 2019, no. 3). She polemicises with this work while offering new ways of reading TAK. She also fills an important gap in the sources cited by Śniecikowska. [ABSTRACT FROM AUTHOR]

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The exhibition “Enrico Prampolini. Futuryzm, scenotechnika i teatr polskiej awangardy” (“Enrico Prampolini. Futurism, Stage Design and the Polish Avant-gard Theatre”), open at the Muzeum Sztuki in Łódź between 9 June and 10 October 2017, was one of the most intense encounters with the Avant-garde last year, which was a jubilee year. The exhibition offered an erudite journey that followed the interests of the curator Przemysław Strożek, a student of Italian Futurism and its reception in Poland. Despite a clearly defined goal of setting side by side the creations of Prampolini and the achievements of Polish Avant-garde theatre, it was not a classical “thesis exhibition,” which can be regarded as the curator’s fault or as his credit, and the judgment on this point depended mostly on how well versed in Avant-garde movements the viewer was. A complex, multi-threaded narrative that the exhibits amassed in a rich and representative selection were telling proved not accessible enough for some of the public, while other visitors found it exquisitely enlightening. The connexions between avant-gardists of different countries were displayed in a subtle way, and the space in which the visitors could explore them afforded a chance to investigate the exhibition freely and at one’s own pace. The endevour was all the more appealing due to the fact that the setting made a clear linear narrative virtually impossible, favouring a meandering and dialogical tale instead. The outcome was a fascinating maze of compelling, and sometimes difficult to discern, feedback relations between the Polish and Italian avant-gardes of the 1920s and 1930s.

Sobieraj focuses on the figure of Edmund Miller, a forgotten writer and poet of the interwar period (1920s-1939), presenting his creative life in relation to his cooperation with Polish constructivist artists. Miller’s poetry, though scarcely preserved, is read in the context of artistic trends such as Futurism, Constructivism and Dadaism. Sobieraj draws attention to the poems’ experimental form, their graphic innovation and connection to visual poetry. [ABSTRACT FROM AUTHOR]

The article is an attempt to interpret the only book published by Jerzy Jankowski, a forerunner of Polish futurism who is often overlooked in literary history related to the beginnings of the avant-garde movement. Tram wpopszek ulicy (Tram crossways on the street), published in 1920, is presented in terms of innovative phenomena in Polish and European poetry. Such a point of view reveals its precursory character, despite its passeism repeatedly diagnosed by critics. The key word and the starting point of the analysis is the first word of the title - tram, whose ambiguity makes it not only a sign of a modern city but also a metaphor of the construction of the entire book and its historical location. Further analysis leads to conclusions that, on the one hand, reveal the complicated meaning of the vitalistic futurist concept of life and, on the other, indicate aporias and tensions between symbolism and avant-garde, originality and repetition, materiality and spirituality, as well as aesthetics and the social function of art. These seem to be a hidden dimension of Jankowski's work. [ABSTRACT FROM AUTHOR]

Review: Paweł Graf Automobil w pędzie: Studia o futuryzmie i futurystach [The Automobile in Motion: A Study of Futurism and the Futurists] Paweł Graf’s monograph presents a new perspective on Polish Futurism by revisiting the stereotypes and examining disputed and understudied issues. Graf’s revelatory work build on rereading works that revolve around modernity, revolution and demolition; he discovers forgotten sources and presents the texts of flyers in their original typographical context; he also translates Marinetti’s manifesto and conducts a literary historical investigation on the beginnings of the movement in Poland, offering a chronology of events and revealing links between them. He broadens our understanding of Futurism by including hitherto unknown texts and little-known phenomena. Finally he analyses the artists’ views and their different relationships to the ideals and slogans of Futurism as well as other, related movements. [ABSTRACT FROM AUTHOR]

This article deals with the first phase of Jerzy Jankowski's severing ties with the Young Poland movement and his access to the futurist avant-garde. His conversion to the new poetic worldview, which he pioneered in Poland, was reflected in his articles and poems published in Widnokrąg [Horizon], a magazine he founded in 1913 to replace Tydzień [The Week], of which he was the main publisher. The rebranding came on top of disagreements between the magazine's contributors. The divergent views focused on the assessment of Tadeusz Miciński's novel Xiądz Faust. In May 1913, in his former magazine, Jankowski heaped praises on it. However, the following year, when it came up for debate in the Widnokrąg between Miciński's aficionado Zygmunt Kisielewski and the skeptically-minded Leon Choromański, Jankowski sought to distance himself from both the emotionalism and the intellectualism of his colleagues. By that time he was absolutely adamant that the antinomies of Young Poland's high art were a trap. Now that the worship of art striving for timeless perfection would have to give way to an unpretentious concern for 'fugitive art', the time was ripe for working out a new aesthetic, centered on the thrilling 'beauty of big cities', cabaret, cinema, and modern machines. Jankowski broke with his erstwhile mentor Ferdynand Ruszczyc and Zenon Przesmycki-Miriam, to follow the incomparably more exciting Filippo Tommaso Marinetti. Meanwhile, Choromański made one last attempt to bring the young man back on track by writing an article, in which he argued that Futurism was crude, and shallow, a throwback rather than a modern breakthrough. However, his warnings made no dint in Jankowski's faith in futurism. For him its triumph was a matter of historical necessity. And, he had already thrown in his lot with the new movement by publishing his first futurist poems, 'Spłon lotnika' ['Pilot in flames'] and 'Maggi'. [ABSTRACT FROM AUTHOR]

Бруно Ясенский – это один из круп- нейших поэтов польского футуриз- ма. На его творчество значительное влияние оказал итальянский и рус- ский футуризм, который призывал к увлечению техническим развитием, в частности, его основными сим- волами – городом и машиной. Свое восхищение машиной Ясенский отмечал, среди прочего, в Манифе- сте к польскому народу о немедленной футуризации жизни, где называет ее «основным моментом жизни». В 1923 году Бруно Ясенский написал роман Ноги Изольды Морган, в кото- ром отвергает все футуристические идеи, в первую очередь машину, указывая на ее разрушительные свойства и называя ее причиной деградации человека.

The article constitutes an attempt at analysing futurist pronatalist discourse, on the basis of the manifestos and artistic praxis of the Futurists. The reproduction postulates, prevalent in the works of the Polish Futurists and usually placed in the context of vitalism, characteristic of the 1920s, are shown from a biopolitical perspective, emphasizing the intersection of the biological with the political and social horizons. The author attempts to trace especially the political entanglements of the “population project” of the Polish Futurists, which turns out be marked by numerous paradoxes, situating itself between the pronatalist rhetoric typical of nationalist discourse (on the one hand, the discourse promoted by F.T. Marinetti, and on the other, the one formulated in Poland directly after regaining independence) and thinking in terms of a community which starts from the material functions of the body. In this second context, the reproduction postulates are not only an attack on bourgeois morality, but are closely connected with the futurist critique of all social institutions and the state apparatus with its biopolitical dispositions.

Śniecikowska presents the pamphlet Tak - the Polish futurists' first publication, which was recovered in 2018 - from a literary historical and literary theoretical point of view. The lost publication gave rise to a legend that circulated in avant-garde circles and among later literary scholars. Śniecikowska juxtaposes this legend with the text's actual poetics. She also examines the relationship between the visual and the sonic dimension of the composition. Tak is also read in various intertextual arrangements, for instance in relation to the stylistics and semantics of symbolism and expressionism, the Italian futurists' manifestos, as well as religious texts. She concludes by discussing the genre of Tak. [ABSTRACT FROM AUTHOR]

The article focuses on the media transformation of literary works. B. Jasieński’s futurist poem Marsz, published in the interwar period in printed form, recently underwent a multimedia adaptation. The author analyzes the mutations the literary text underwent in interpretation and significance when expressed in the new creative forms of contemporary multimedia “language”. The analysis of the formal structure and of several, sometimes small semantic elements, shows the different way of understanding the poem as expressed through new multimedia means. The futurist poem Marsz has been read as an ironical poem, totally contradicting its original literal meaning. The second part of the article examines a digital version of the poem, which again changes its original meaning. At this moment in time, the relationship between the textuality and virtuality of poetry (and literature in general) constitutes the main space where art “happens” and manifests itself. Thus, the discussion over the digital version of Jasieński’s poem leads to some general considerations about contemporary theory of image and its anthropological expressions.

“The youngest Warsaw futurists”. A Reconnaissance of the Periphery of Polish Futurism The article discusses the so-called periphery of Polish Futurism, especially the activities of those known as the “Youngest Warsaw futurists”, who to this day are considered only as imitators or even plagiarists of writers such as Bruno Jasieński and Aleksander Wat, the artists who represent the mainstream of this literary movement. These groups (“Warsaw Katarynka”, “Homunkulus”) were active in literary field in the years 1921-1924, but most of their ephemera (“jednodniówki” – once-lived publications) have so far been considered missing. The article attempts for the first time to sort out the chronology of these publications and to show them in the broader context of “recognised” Futurist publications.

Far from being enthusiastic “modernolatry” of Italian futurism, Polish futurism demonstrates an attitude of ambivalence toward modernity. This is particularly evident in the Polish approach to that very synecdoche of modernity which is the machine. In his essay of 1923, the leader of the group, Bruno Jasieński, compares the fetishistic cult of the machine, which characterizes the Italian approach, with the utilitarian one of the Russians, exemplified by a quote from Majakovskij. To these two propositions, as a sort of Hegelian synthesis, he adds a Polish one consisting in the conception of the machine as a prosthesis, a continuation of the human body. Thereby he introduces an idea later known as “cyborg”. The category of cyborg is also useful to understand the work of another today almost forgotten Polish writer of the Twenties, Jerzy Sosnkowski. He was the author of a short novel, A Car, You and Me (Love of Machines), in which a whole chapter concerns the chief character’s dystopian nightmare wherein machines take control over the world. The third section of the essay deals with the idea of man a machine – an old, 18th century conception, which became actual anew in the 20th century and whose traces we can find among others in a well-known poem by Tytus Czyżewski. Thirty years before N. Wiener, Polish modernists seem to have sensed the social, political and anthropological implications of the mechanization of work.

The article focuses on the reception of Enrico Prampolini’s work in Polish Avant-garde circles in the 1920s and 1930s. It shows Prampolini as a central figure in “networking” between artists and illustrates how such “networking” phenomena resulted in the popularisation of Italian Futurism in Poland and Polish Avant-garde in Italy. It highlights the range of Prampolini’s contacts with Poland, especially with the «Zwrotnica» circle, Jalu Kurek and Jan Brzękowski, who promoted his theatrical productions and paintings. The outcome of these contacts was most of all a good knowledge of Futurist scenography in Poland, an invitation for Polish scenographers to take part in the “Triennale” which Prampolini organized in 1936 in Milan, and his cooperation with the “a.r.” collection of Modern Art in Łódź. The painting entitled Tarantella (1920), which Prampolini offered to Brzękowski and was installed in Łódź in 1931, testifies to this important collaboration.

The aim of this preliminary insight is to explicate the relationships between the masculinities of Italian, Russian and Polish futurisms. The article, by examining the manifestos and poetry of Polish futurists, shows an inclusive and prospective masculinity project proposed by this movement. Another important objective of this research is to propose an interpretation of the masculinist ideologies of futurism as the "masculinities of tomorrow," which should be valid in the future and should act as a cure for the peripheral status of the region and variously defined "crisis.". [ABSTRACT FROM AUTHOR]

In Cyborg Manifesto Donna Haraway writes: “cyborgs (…) make very problematic the statuses of man or woman, human, artefact, member of a race, individual entity, or body”. This paper returns to the very beginning of thinking about this figure and examines the first protocyborg images created by Futurist and Dada female artists. I also look at Dracula’s Mina Harker as one of the first Western protocyborg figures. I ask to what extent such images anticipated the new forms of subjectivity and how they made the relation between human-nature and human-technology problematic as well as thinking in categories of gender. [ABSTRACT FROM AUTHOR]

The article traces historical discourses of the avant-garde from the perspective of models of gender roles, starting with the analysis of the most radical Futurist ideas of the role of women. The crucial point is the interpretation of the slogan “scorn for women” and its connection with the critical judgement of bourgeois representations of the world. The main point of the last part of the article is an approach to the first poem by Aleksander Wat, the interpretation of which seems to show wasted avant-garde capability for considering the idea of gender. [ABSTRACT FROM AUTHOR]

The article discusses a collection of literary essays Elementy do portretu. Szkice o twórczości Aleksandra Wata published and edited by Poznań-based specialists in Polish literature and dedicated to Professor Ewa Wiegandt. The starting point for the discussion is the observation that the authors of the essays had to grapple with the elusiveness and multidimensional character of the output of A. Wat, with the entanglement of the text of his works with the text of his biography, and finally with the multitude of its cultural contexts. The reviewer distinguishes four research currents in the collection of essays, each being a different answer to these particular traits of Wat’s writing. Historical and literary studies in the book show the author in his relations and as a non-categorizable author, and challenge the Futurist character of his juvenile writings by juxtaposing them with earlier Symbolism and later Catastrophism. The interpretative study current tries to find ways to define Wat through reading his individual works. Here, the overriding opposition between ”closeness” and ”openness”, so pivotal in the poet’s works, becomes apparent. The current of thematology that present Wat’s literary topoi in relation to his biography is well represented in the volume. Finally, the studies that cross the strictly literary horizon try to capture the multi-tier structures of Wat’s works, reinterpreting them from the sociological, historical or axiological perspectives. The final conclusion of the review is the acknowledgement of the richness offered by the book that corresponds well to the intensity of works and the biography of the author.

The author's subject of interest is olfactory experience and its effect on the form of the space presented by futurists. The futurists develop new sensitivity, open to “sharp” stimuli, and not avoiding dissonances. The smell becomes in this context a component of the constructed space, appertaining to the forms of intensity, dynamic forms. The scent appeals to intuition rather than reasonable calculation, encouraging the futurist “new opening”. Also a broader context of the considerations seems important: the pursuit, declared in program texts of the futurists, of going beyond the convention of three dimension towards an n-dimensional space experienced with all senses; in other words the will to differentiate the ways of perception in order to enrich special imagination. [ABSTRACT FROM AUTHOR]